fukingdeathmetal

1. Death Metal
Death metal is an extreme subgenre of heavy metal. It typically employs heavily distorted
guitars, tremolo picking, deep growling vocals, blast beat drumming,
minor keys or atonality, and complex song structures with multiple tempo changes.
Building from the musical structure of thrash metal and early black metal, death metal
emerged during the mid 1980s.[2] Metal acts such as Slayer,[3][4]Kreator,[5] Celtic
Frost,[6] and Venom were very important influences to the crafting of the
genre.[2] Possessed[7] and Death,[8][9][10] along with bands such
as Obituary, Carcass, Deicide and Morbid Angel are often considered pioneers of the
genre.[11] In the late 1980s and early 1990s, death metal gained more media attention as
popular genre niche record labels like Combat, Earache and Roadrunner began to sign
death metal bands at a rapid rate.[12] Since then, death metal has diversified, spawning
a variety of subgenres.[13]
History
Emergence and early history
English heavy metal band Venom, from Newcastle, crystallized the elements of what later
became known as thrash metal, death metal and black metal, with their 1981
album Welcome to Hell.[14]Their dark, blistering sound, harsh vocals, and macabre, proudly
Satanic imagery proved a major inspiration for extreme metal bands.[15] Another highly
influential band, Slayer, formed in 1981. Although the band was a thrash metal act, Slayer's
music was more violent than their thrash
contemporaries Metallica, Megadeth and Exodus.[16] Their breakneck speed and
instrumental prowess combined with lyrics about death, violence, war and Satanism won
Slayer a rabid cult following.[17] According to Allmusic, Slayer's third album Reign in
Blood "inspired the entire death metal genre".[18]It had a big impact on the genre leaders.[16]
Jeff Becerra ofPossessed, who christened the term "Death Metal" in 1983 on the band's
1984 demo of the same name.[19][20]
Possessed, a band that formed in the San Francisco Bay Area during 1983, was attributed
by Allmusic as "connecting the dots" between thrash metal and death metal with their 1985
debut album, Seven Churches.[21] While attributed as having a Slayer influence,[22] current

2. and former members of the band had actually cited Venom and Motorhead, as well as early
work by Exodus, as the main influences of their sound.[23][24] Although the group had
released only 2 studio albums in their formative years, they have been described by both
music journalists and musicians as either being "monumental" in developing the death
metal style,[25] or as being the first death metal band.[26][27][28] Earache Records noted that
"....the likes of Trey Azagthoth and Morbid Angel based what they were doing in their
formative years on the Possessed blueprint laid down on the legendary Seven
Churches recording. Possessed arguably did more to further the cause of 'Death Metal' than
any of the early acts on the scene back in the mid-late 80's."[29]
Chuck Schuldiner (1967–2001) of Death, during a 1992 tour in Scotland in support of the
albumHuman.
During the same period as the dawn of Possessed, a second influential metal band was
formed in Florida: Death. Death, originally called Mantas, was formed during 1983
by Chuck Schuldiner, Kam Lee, and Rick Rozz. In 1984 they released their first demo
entitledDeath by Metal, followed by several more. The tapes circulated through the tape
trader world, quickly establishing the band's name. With Death guitarist Schuldiner
adopting vocal duties, the band made a major impact on the scene. The fast minor-key riffs
and solos were complemented with fast drumming, creating a style that would catch on in
tape trading circles.[30][31] Schuldiner has been attributed by Allmusic's Eduardo Rivadavia
as being "widely recognized as the Father of Death Metal".[32] Death's 1987 debut
release,Scream Bloody Gore, has been described by About.com's Chad Bowar as being the
"evolution from thrash metal to death metal",[33]and "the first true death metal record" by
the San Francisco Chronicle.[34]
Along with Possessed and Death, other pioneers of death metal in the United States
include Autopsy, Necrophagia, Master, Morbid Angel, Massacre, Atheist, Post
Mortem,[35][36][37] Obituary and Deicide.
Growing popularity
By 1989, many bands had been signed by eager record labels wanting to cash in on the
subgenre, including Florida's Obituary, Morbid Angel and Deicide. This collective of death
metal bands hailing from Florida are often labeled as "Florida death metal". Death metal

3. spread to Sweden in the late 1980s, flourishing with pioneers such as Carnage, God
Macabre, Entombed, Dismember and Unleashed. In the early 1990s, the rise of typically
melodic "Gothenburg metal" was recognized, with bands such as Dark Tranquillity, At the
Gates, and In Flames.
Following the original death metal innovators, new subgenres began by the end of the
decade. British band Napalm Death became increasingly associated with death metal, in
particular, on 1990's Harmony Corruption. This album displays aggressive and fairly
technical guitar riffing, complex rhythmics, a sophisticated growling vocal delivery by Mark
"Barney" Greenway, and socially aware lyrical subjects, leading to the creation of the
"grindcore" subgenre. Other bands contributing significantly to this early movement
include Britain's Bolt Thrower and Carcass, and New York's Suffocation.
To close the circle, Death released their fourth album Human in 1991, an example of
modern death metal. Death's founder Schuldiner helped push the boundaries of
uncompromising speed and technical virtuosity, mixing technical and intricate rhythm
guitar work with complex arrangements and emotive guitar solos.[38] Other examples are
Carcass's Necroticism – Descanting the Insalubrious, Suffocation's Effigy of the Forgotten and
Entombed's Clandestine from 1991. At this point, all the above characteristics are present:
abrupt tempo and count changes, on occasion extremely fast drumming, morbid lyrics and
growling vocal delivery.
Earache Records, Relativity Records and Roadrunner Records became the genre's most
important labels,[39] with Earache releasing albums by Carcass, Napalm Death, Morbid
Angel, and Entombed, and Roadrunner releasing albums by Obituary, and Pestilence.
Although these labels had not been death metal labels, initially, they became the genre's
flagship labels in the beginning of the 1990s. In addition to these, other labels formed as
well, such as Nuclear Blast, Century Media, andPeaceville. Many of these labels would go on
to achieve successes in other genres of metal throughout the 1990s.
In September 1990, Death's manager Eric Greif held one of the first North American death
metal festivals, Day of Death, in Milwaukee suburb Waukesha, Wisconsin, and featured 26
bands includingAutopsy, Broken Hope, Hellwitch, Obliveon, Revenant,
Viogression, Immolation, Atheist, and Cynic.[40]
Later history
Death metal's popularity achieved its initial peak between the 1992–93 era, with some
bands such as Morbid Angel, Cannibal Corpse and Obituary enjoying mild commercial
successes. However, the genre as a whole never broke in to the mainstream. The genre's
mounting popularity may have been partly responsible for a strong rivalry
between Norwegian black metal and Swedish death metalscenes. Fenriz of Darkthrone has
noted that Norwegian black metal musicians were "fed up with the whole death metal
scene" at the time.[41] Death metal diversified in the 1990s, spawning a rich variety of
subgenres which still have a large "underground" following at the present.
Characteristics
Instrumentation

4. The setup most frequently used within the death metal genre is two guitarists, a bass
player, a vocalist and a drummer often using "double bass blast beats".[42][43] Although this
is the standard setup, bands have been known to occasionally incorporate other
instruments such as electronic keyboards.[44]
The genre is often identified by fast, highly distorted and droptuned guitars, played with
techniques such as palm muting and tremolo picking. The percussion is usually aggressive,
and powerful; blast beats, double bass and exceedingly fast drum patterns frequently add
to the complexity of the genre.[45]
Death metal is known for its abrupt tempo, key, and time signature changes. Death metal
may include chromatic chord progressions and a varied song structure, rarely employing
the standard verse-chorus arrangement. These compositions tend to emphasize an ongoing
development of themes and motifs.
Vocals and lyrics
Death metal vocals are often guttural roars, grunts, snarls, and low gurles colloquially
known as death growls. Death growling is mistakenly thought to be a form of screaming
using the lowest vocal register known as vocal fry, however vocal fry is actually a form of
overtone screaming and true death growling is in fact created by an altogether different
technique.[46][specify] The 3 major methods of harsh vocalization used in the genre are
mistaken for each other often, encompassing vocal fry screaming, false chord screaming,
and true death growls.[47][Full citationneeded] The style is sometimes referred to as Cookie
Monster vocals, tongue-in-cheek, due to the vocal similarity to the voice of the
popular Sesame Street character of the same name.[48] Although often criticized, death
growls serve the aesthetic purpose of matching death metal's aggressive lyrical
content.[49] High-pitched screaming is also commonly utilized in death metal, being heard in
songs by Death, Exhumed, Dying Fetus,Cannibal Corpse, and Deicide. Often death metal
singers will alternate between shrieks and growls in order to create a contrasting effect.
The lyrical themes of death metal may invoke slasher film-stylized violence,[50] but may
also extend to topics like Satanism, anti-
religion, occultism, Nature, mysticism, philosophy, Science Fiction,
and politics.[51][52] Although violence may be explored in various other genres as well, death
metal may elaborate on the details of extreme acts,
including mutilation, dissection, torture, rape andnecrophilia. Sociologist Keith Kahn-
Harris commented this apparent glamorization of violence may be attributed to a
"fascination" with the human body that all people share to some degree, a fascination
which mixes desire and disgust.[53] Heavy metal author Gavin Baddeley also stated there
does seem to be a connection between "how acquainted one is with their own mortality"
and "how much they crave images of death and violence" via the media.[54] Additionally,
contributing artists to the genre often defend death metal as little more than an extreme
form of art and entertainment, similar to horror films in the motion picture industry.[2] This
explanation has brought such musicians under fire from activists internationally, who
claim that this is often lost on a large number of adolescents, who are left with the
glamorization of such violence without social context or awareness of why such imagery is
stimulating.[2]

5. According to Alex Webster, bassist of Cannibal Corpse, "The gory lyrics are probably not, as
much as people say, [what's keeping us] from being mainstream. Like, 'death metal would
never go into the mainstream because the lyrics are too gory?' I think it's really the music,
because violent entertainment is totally mainstream."[55]
Origin of the term
The most popular theory of the subgenre's christening is Possessed's 1984 demo, Death
Metal; the song from the eponymous demo would also be featured on the band's 1985
debut album, Seven Churches.[56] Possessed vocalist/bassist Jeff Becerra said he coined the
term in early 1983 for a high school English class assignment.[57] Another possible origin is
a fanzine called Death Metal, started by Thomas Fischer and Martin
Ain of Hellhammer and Celtic Frost. The name was later given to the 1984
compilation Death Metal released by Noise Records.[58][59] The term might also have
originated from other recordings. A demo released by Death in 1984 is called Death by
Metal.[60]
Subgenres
It should be noted that cited examples are not necessarily exclusive to one particular style.
Many bands can easily be placed in two or more of the following categories, and a band's
specific categorization is often a source of contention due to personal opinion and
interpretation.
 Melodic death metal: Scandinavian death metal could be considered the forerunner of
"melodic death metal". Melodic death metal, sometimes referred to as "melodeath", is
heavy metal music mixed with some death metal elements, such as growled vocals and
the liberal use of blastbeats. Songs are typically based on Iron Maiden-esque guitar
harmonies and melodies with typically higher-pitched growls, as opposed to traditional
death metal's brutal riffs and much lower death grunts. Carcass is sometimes credited
with releasing the first melodic death metal album with 1993'sHeartwork, although
Swedish bands In Flames, Dark Tranquillity, and At the Gates are usually mentioned as
the main pioneers of the genre and of the Gothenburg metal sound.
 Technical death metal: Technical death metal and "progressive death metal" are
related terms that refer to bands distinguished by the complexity of their music.
Common traits are dynamic song structures, uncommon time signatures, atypical
rhythms and unusual harmonies and melodies. Bands described as technical death
metal or progressive death metal usually fuse common death metal aesthetics with
elements of progressive rock, jazz or classical music. While the term technical death
metal is sometimes used to describe bands that focus on speed and extremity as well as
complexity, the line between progressive and technical death metal is thin. "Tech death"
and "prog death", for short, are terms commonly applied to such bands
as Cryptopsy, Edge of
Sanity, Opeth, Origin and Sadist. Cynic, Atheist, Pestilence and Gorguts are examples of
bands noted for creating jazz-influenced death metal. Necrophagist and Spawn of
Possession are known for a classical music-influenced death metal style. Death metal

6. pioneers Death also refined their style in a more progressive direction in their final
years. The Polish band Decapitated gained recognition as one of Europe's primary
modern technical death metal acts.[61][62]
 Deathcore: With the rise in popularity of metalcore, some of its traits have been
incorporated into death metal. Bands such as Suicide Silence, Salt the Wound and the
early works from Job for a Cowboy combine metalcore with death metal influences.
Characteristics of death metal, such as fast drumming (including blast beats), down-
tuned guitars, tremolo picking and growled vocals, are combined
with screamed vocals, melodic riffs and breakdowns.
 Death/doom: Death/doom is a style that combines the slow tempos and melancholic
atmosphere of doom metal with the deep growling vocals and double-kick drumming of
death metal.[63] The style emerged during the late 1980s and gained a certain amount of
popularity during the 1990s.[63] It was pioneered by bands such
as Autopsy, Winter,[64] Asphyx,[64] Disembowelment,[64]Paradise Lost,[64] and My Dying
Bride.[64]
Aborted are "key contributors to thedeath-grind genres," according to Allmusic.[65]
 Goregrind and deathgrind: This style mixes the intensity, speed, and brevity
of grindcore with the complexity of death metal. It differs from death metal in
that guitar solos are often a rarity, shrieked vocals are more prominent as the main
vocal style (though death growls are still utilized and some deathgrind bands make
more use of the latter vocal style), and songs are generally shorter in length, usually
between one and three minutes. The style differs from grindcore in the more technical
approach and less evident hardcore punk influence and aesthetics. Some notable
examples of deathgrind areBrujeria, Cattle Decapitation,[66] Cephalic Carnage, Pig
Destroyer,[67] Circle of Dead Children and Rotten Sound.
 Blackened death metal: is a style that combines death metal and black
metal.[68][69] These bands also often tend to adopt some of the thematic characteristics
of that genre as well: Satanism and occultism are all common topics and images. The
style was influenced by bands such as Sarcófago,Blasphemy, Beherit and Impaled
Nazarene. In the mid 1990s it was developed further by bands such
as Belphegor, Behemoth, Akercocke, Zyklon, Septic Flesh, and Sacramentum.

7. Other fusions and subgenres
There are other heavy metal music subgenres that have come from fusions between death
metal and other non-metal genres, such as the fusion of death metal
and jazz. Atheist and Cynic are two examples. The former of went as far as to include jazz-
style drum solos on albums, and the latter incorporated elements of jazz fusion. Nile have
also incorporated Egyptian music and Middle Eastern themes into their work,
while Alchemist have incorporated psychedelia along with Aboriginal music. Some groups,
such as Nightfall, Septic Flesh, and Eternal Tears of Sorrow, have
incorporated keyboards and symphonic elements, creating a fusion of symphonic metal
and death metal, sometimes referred to as symphonic death metal.
Death growl
For the sound sometimes made by the dying, see Death rattle.
A death growl, also known as death metal vocals, guttural vocals, death grunts,
and harsh vocals[1] among other names, is a vocalisation style usually employed by
vocalists of the death metaland black metal music genre, but also used in a variety of heavy
metal and hardcore punk subgenres.[2]
Death metal, in particular, is associated with growled vocals. Death metal, which tends to
be darker and more morbid than thrash metal, features vocals that attempt to evoke chaos,
death, and misery by being "usually very deep, guttural, and unintelligible."[3] Natalie
Purcell notes, "Although the vast majority of death metal bands use very low, beast-like,
almost indiscernible growls as vocals, many also have high and screechy or operatic vocals,
or simply deep and forcefully sung vocals."[4] Sociologist Deena Weinstein has noted of
death metal: "Vocalists in this style have a distinctive sound, growling and snarling rather
than singing the words. Making ample use of the voice distortion box."[5]
The progressively more forceful enunciation of metal vocals has been noted, from heavy
metal to thrash metal to death metal.
“ To appreciate the music, fans first had to accept a merciless sonic signature:
guttural vocals that were little more than a menacing, sub-audible growl. James
Hetfield's thrash metal rasp was harsh in contrast to Rob Halford's heavy metal
high notes, but creatures like Glen Benton of Deicide tore out their larynxes to
summon images of decaying corpses and giant catastrophic horrors.[6] ”
Death growls are sometimes criticized for their "ugliness".[7] However, the harshness of
death growls are in keeping with death metal's often dark and disturbing subject matter.[7]
[edit]Technique

8. Growls can be obtained with various voice effects, but the effects are usually used to
enhance rather than create, and are seldom used at all. Voice teachers teach different
techniques, but long-term use will still take its toll - these techniques are designed to
reduce rather than eliminate harm.[citation needed] The Radboud University Nijmegen Medical
Centre in The Netherlands reported in June 2007 that, because of the increased popularity
of growling in the region, it was treating several patients for edema and polyps on the vocal
folds.[8]
History and variations
Early precedents
The use of growling, "monstrous" vocals for ominous effect in rock music can be traced at
least as far back as "I Put a Spell on You" by Screamin' Jay Hawkins in 1956. Though
humorous in intent, the 1966 novelty song "Boris the Spider" by The Who features
bassist John Entwistle's deep, guttural, gurgling growls which may have influenced modern
death metal vocalists.
In 1969 and the early 1970s, the song "21st Century Schizoid Man" by King Crimson is
notable for its heavily distorted vocals sung by Greg Lake. The songs "Iron Man" by Black
Sabbath and "One of These Days" by Pink Floyd both contain brief passages of ominously
growled, low-pitched vocals (in both cases studio-manipulated) against a heavy
background of rock riffs. Other examples are Roger Waters's screams in some Pink
Floyd songs, such as Candy and a Currant Bun (1967), Careful with That Axe,
Eugene (1968) and the beginning of Another Brick in the Wall (part 2). Punk rock bands
like The Clash and the Stiff Little Fingers also regularly employed gruff sounding vocals,
however nothing like the death growl common in metal music today.
Origins in heavy metal
The advent of the growl as it is used today coincided roughly with the gradual emergence
of death metal, and it is thus difficult to pinpoint a specific individual as the inventor of the
technique. Different vocalists likely developed the style over time. The band Death (and its
precursor Mantas) with its two vocalists — initially Kam Lee and subsequently Chuck
Schuldiner — have been cited as among the first (although Schuldiner would eventually
switch to a more high-pitched screeching). Possessed are also considered by some to be
one of the earliest bands to employ growls, as are Necrophagia andMaster. Around the
same time, bands such as Hellhammer, with Tom G. Warrior on vocals, and seminal
act Massacre also employed a variation of the growl. The vocalists from the

9. British grindcoreband Napalm Death — consecutively Nic Bullen, Lee Dorrian and Mark
"Barney" Greenway — further developed the style in the late 1980s, adding more
aggression and deeper guttural elements to it, while also speeding up delivery of the lyrics.
Another singer who gradually deepened his voice into the growling used today on death
metal and grindcore was Chris Barnes, original singer of Cannibal Corpse. On the band's
video biography, he says that he wanted to sing as high as Rob Halford, but his voice was
too low pitched for that. So he started trying to blend it with the other instruments, coming
up with a dark and really low guttural voice that became his signature.
Blast beat
A blast beat is a drum beat often associated with extreme metal and grindcore, although its
usage predates the genres, and is utilised by many different styles of metal.[1] In Adam
MacGregor's definition, "the blast-beat generally comprises a repeated, sixteenth-note
figure played at a very fast tempo, and divided uniformly among the bass drum, snare, and
ride, crash, or hi-hat cymbal."[1]Blast beats have been described as "maniacal percussive
explosions, less about rhythm per se than sheer sonic violence".[2] Napalm Death is said to
have coined the term,[2] though this style of drumming had previously been practiced
by D.R.I.,[1] Repulsion[3] and others. Blast beats are made with rapid alternating or
coinciding strokes primarily on the bass and snare drum. Diverse patterns and timings are
also frequently used by more technical players, such as Gene Hoglan (Death/Dark
Angel), Alex Hernandez (Immolation) and Flo Mounier (Cryptopsy). Alternative styles of
blast beats include performing two strokes of the bass drum followed by one stroke of the
snare drum. Pete Sandoval frequently uses this technique.
History
The English band Napalm Death coined the term "blast beat",[2] though this style of
drumming had previously been practiced by others. Daniel Ekeroth argues that the blast
beat was first performed by the Swedish D-beat group Asocial on their 1982
demo.[4] D.R.I. ("No
Sense"),[1] Sepultura ("Antichrist"),[5] S.O.D. ("Milk"),[6] Sarcófago ("Satanas"),[7] and Repulsi
on[3] also included the technique prior to Napalm Death's emergence. Blast beats originated
in performances by jazz drummers of the 1950s, 60s and 70s such as Tony Williams,
Angelo Spampinato, and Sunny Murray, in particular his 3/28/1965 Greenwich
Village recording of "Holy Ghost" with Albert Ayler. Allmusic contributor Thom Jurek
credits Williams as the "true inventor of the blastbeat"[8] in 1979. In 1969 the

10. band Attila used a blast beat on their song Brain Invasion starting at the 2:04 mark and
lasting for about eight seconds. Blast roots in hardcore punk can be traced to recordings
such as D.R.I's "No Sense" on their first EP (1982)[citation needed] and Beastie Boys "Riot Fight"
on their first EP, Pollywog Stew. Other examples include Heart Attack, Cryptic
Slaughter and Lärm.
A major influence on the evolution of the blast beat was Napalm Death's first
drummer Mick Harris. Harris started using it as a fundamental aspect of Napalm Death's
early musical compositions. The original use in metal music is generally attributed to Igor
Cavalera (Sepultura), Mike Browning (Morbid Angel, Nocturnus), D.D. Crazy (Sarcófago),
Dave 'Grave' Hollingshead (Repulsion) and Charlie Benante (Anthrax, SOD).[citation
needed] Benante showcased the technique by a double-handed blast beat in the track "Milk"
on the SOD album Speak English or Die, later played single-handed on the live album Live at
Budokan. Although even earlier usage dates back to demos by Death from 1984, with
drummer and vocalist Kam Lee showcasing usage in songs such as Reign Of Terror and
Curse Of The Priest. Members from Repulsion (back when they were known as Genocide)
temporarily joined Death in 1985, so it's been speculated that they started their trademark
widespread usage after first hearing it during their short tenure with Death.
Blast beats eventually appeared in commercially successful metal music, beginning
with Slipknot's album Iowa.[9]
Characteristics
Blast beat drum pattern Play (help·info).
Early blast beats were generally quite slow and less precise compared to today's standards.
Nowadays, a blast beat is normally played in tempos from 180 beats per minute upwards,
with so-called "hyper blasts" existing in the range of 250-280 bpm (or even higher). There
is also the "gravity blast", not to be confused with the one-handed gravity roll. This
technique uses the hand as a fulcrum, allowing two snare hits with one downward motion
(essentially doing the work of two hands with only one).
Typical blast beats consist of 8th-note patterns between both the bass and snare drum
alternately, with the hi-hat or the ride synced. Variations exist such as displacing hi-
hat/ride, snare and bass drum hits and/or using other cymbals such as splashes, crashes,

11. chinas and even tambourines for accenting, for example when using odd time or playing
progressively. While playing 8th or 8th note triplets some drummers choose to play in sync
with one foot while others split the 8th notes between both feet.
Different drummers use different foot or hand techniques. Certain drummers, such
as George Kollias, prefer to only use one foot while performing blast beats, as it gives them
extra precision that is not easily attainable with two feet. Others, such as Trym Torson,
prefer using two feet, as it gives extra power and allows for playing without triggers.
Drummers also will either use their wrists, their fingers, or a combination of both to
control their drumsticks.
What better way to document the most extreme aspects--the horrors, the chaos, the
darkest corners--of the human experience, than with guttural growl? Harsh vocals are
fitting for harsh subject matters, but they're not so fitting for your vocal cords. Learn the
proper technique so death can be something your voice communicates, not something your
voice experiences.
How to Do Harsh Death Metal Vocals
Learn how to sing properly. Start with something that has vibrato, like classic rock or
progressive. The most important technique for performing death metal vocals is to be able
to control your breathing, establishing a balance between the force used by your
diaphragm and vocal cords. Using only the vocal cords will put undue pressure on them
and is sure to damage them. Proper technique is established by using the diaphragm to
push air out of your lungs. Practice normal singing for a month first. This will really
strengthen drive and make it easier on you when you start doing death growls.
A cup of tea a day keeps the vocal polyps away
Drink lukewarm water or tea an hour before performing, as well as in between
songs. This relaxes your vocal chords. Avoid cold water, as it shocks the voice, and causes
the vocal chords to "tense up." Also avoid hot water, as it can scald your tongue and throat.

12. Warm up your voice before recording or performing death metal.
Warm up your voice before recording or performing death metal. "Warming up" can
mean anything from singing mid-tone melodies to delivering your vocal patterns in a clean
chest tone. Even humming for five minutes would be more beneficial to you than not
warming up your voice at all.
Fill up your lungs with air, then push out some of the air, tightening your throat and
moving your tonsils as you do this. Do this all in one motion, but don't push too hard.
Aim the sound higher in your throat to make a "dying old man"-like sound. It should sound
something like a black metal raspy voice. From there lower the pitch in your throat the
same way you would with your normal voice. At first, it won’t sound like much-- it takes
some time to get used to.
Visualize a column of air rising from your diaphragm, through your chest, and up through
your facial mask (the space behind the nose, under the eyes, above the upper teeth).

13. Visualize a column of air rising from your diaphragm, through your chest, and up
through your facial mask (the space behind the nose, under the eyes, above the
upper teeth). Keep your larynx down also. This technique will not only help your death
metal vocals be strong and present, but is also the correct technique for melodic singing.
The only difference between them is that regular voice comes from your vocal chords while
death metal vocals come from your false vocal chords. (Instead of vibrating your vocal
chords, focus your growling sound under your vocal chords, around your collarbone.)
Push through your abdomen. All of your vocal strength comes from the diaphragm. It
also helps if your back is in a fixed position. Don't slouch or leave your spine limp. Inhale
and belt out a deep roar by loosening your vocal chords. Your throat has to be relaxed in
order for your growl to rumble with intensity.
Create the "angry sigh" sound. Say "ugh" forcefully as if you were annoyed and you will
feel a low, slight vibration in the back of your throat. This is the essential sound for false
chord vocals; take that vibration and practice drawing it out longer while adding more
force to it with your diaphragm. You will find that it does not hurt as long as you are
drinking plenty of water and not overdoing it. With practice, it will sound brutal!
Practice barking like a dog.
Practice barking like a dog. Take a deep breath and go from your diaphragm. Force the
sound out from the bottom of your belly, really imitating the barking sound. Then extend
the barking sound and try it with several words. Breathing like a dog, as stupid as it sounds,
can help you open your throat and get a guttural sound to your grunts. Don't do it loudly at
the beginning--increase your volume as you get better at it.
A good way to practice your grunts is to say the letters a, e, i, o, n, u. As you get better at
your grunts, try doing this faster.
Pick a lyric you want to perform. Try to choose songs from bands like Slayer, Metallica,
Alice Cooper, AC/DC or other bands who do not use the death grunts, as it will be easier to
rehearse your grunts. Try singing it normally, then slowly add more "fire" to it, until you
can feel your diaphragm really pushing and you're getting that deep sound you're looking
for. If you don't succeed in the deep guttural vocals try a raspier approach. Anyone can
achieve this, men as well as women.
o Good slow practice songs with normal vocals: “Black Sabbath” by Black Sabbath, “Dead Skin
Mask” by Slayer, "Hard Rock Hallelujah" by Lordi.

14. o Good slow practice songs with death metal vocals: “Death Walking Terror”- Cannibal
Corpse, "Festering in the Crypt" by Cannibal Corpse, “I Cum Blood” by Cannibal Corpse,
"The Jealous Sun" by Novembers Doom, "Sarcophagus" by Nile
o Good fast practice songs with normal vocals: “Aggressive Perfector” by Slayer, “Dittohead”
by Slayer, “Jesus Saves” by Slayer, “Necrophobic” by Slayer
o Good fast practice songs with death metal vocals: “Disposal of the Body” by Cannibal
Corpse, “Homage for Satan” by Deicide, “Post Mortal Ejaculation” by Cannibal Corpse, “The
Exorcist” by Possessed, "The Optimist" by Skinless, "4:20" by Six Feet Under, "Stabwound"
by Necrophagist, "Egypt, the Red Earth" by Necronomicon, "Buried By The Dead" by
Bloodbath, "Sick Salvation" by Bloodbath, "Prometherion" by Behemoth, "Scrolls of the
Megilloth" by Mortification, "Demon of the Fall" by Opeth, "What Can Be Safely Written" by
Nile.
Drink a healthy beverage, such as water, after you're done performing death metal vocals.
Drink a healthy beverage, such as water, after you're done performing death metal
vocals.
o Avoid milk as it increases any existing phlegm or mucus[2], which will coat your throat,
stunting your progress.
o Avoid fruit juice as it usually contains citric acid which will not soothe your throat.
Tips
 Harsh vocals will grow in volume as you gain skill with them and use them correctly.
 The sound should be originating from the back part of your throat. Place two fingers on
your throat at the highest point of the front side of your neck, right beneath the head. If you
feel vibrations there, you're doing it right. If you feel it coming from the bottom of your
throat, you are damaging your vocal chords and need to fix that.
 Learn to control rasp and phlegm. Rasp is air coming up; phlegm is mucus in your mouth
and throat.
 To create a more "brutal" sound, you can experiment with saliva in your mouth. It can be
trapped between your tongue and throat. It's that "gurgling" you hear in many songs. An
open throat is the key. The notes sung and air must come up with ease. One can use their
tongue to deflect air being forced up and change tone. This can be done by curling the

15. tongue either upward or downward and produces a deeper tone. The lips are the second
method of changing tone. You should never change tone by tightening your throat.
 You may want to avoid "cupping" the microphone with your hands. Many vocalists
intentionally use this technique to increase volume during amplification and to make their
tone sound lower than it actually is, but this technique is also widely frowned upon by the
death metal community as being a false enhancement technique. It will also muffle your
enunciation and most likely make it more difficult to achieve the level of vocal/tonal clarity
you may desire.
 Don't smoke, and if you insist on drinking, drink in moderation. Smoking may deepen your
voice, but it will also reduce your breath support. Delivering death vocals requires a great
deal of energy, and drugs of any sort will only emasculate your staying power.
 Be sure to have variation in your vocals. Monotone growling will sound boring after awhile,
no matter how impressive your vocals are.
 If you're already good at screaming, picking up death metal vocals should be a piece of
cake.
Warnings
 The smooth muscles of your throat should not ever hurt while performing death metal or
black metal vocals. However, when you first start out the exterior muscles of the throat will
become sore from holding your throat in a new position.
 All singing of this type can degrade your voice permanently, resulting in loss of range as
well as other serious disorders such as vocal nodules and polyps (growths on the vocal
cords). Correct technique can minimize this damage. Protect your voice just as your band's
guitarist would with his guitar (the expensive/custom one, not the one he designed to burst
into flames). Remember, a guitarist can always buy a new guitar, but you only get one
chance with your voice.
 Inhales are not a reliable technique for death metal. They often sound too high pitched and
are more or less a way of cheating. Although they may not hurt your voice, you may lose the
tune of the scream during the inhales.
 Don't be surprised if you don't sound like your favorite harsh vocalist—everyone has a
different singing voice, even when growling.
 Prepare for some raised eyebrows and harsh criticism when showing friends or family
your unique style of singing. Some people don't consider death metal singing real singing at
all.
 If you have a throat infection, a cold or the flu with coughing, give your vocals a rest for a
week or two.
While most people associate death metal music with a bunch of guys screaming and
creating random noise, there's a multitude of reasons why this genre maintains a strong
following and earns the fierce loyalty of many listeners worldwide. Here's why.

16. How to Appreciate Death Metal
Listen beyond the crunching guitars and harsh vocals. Although the rough guitar sound
and guttural vocals that permeate much of death metal can take a little getting used to
(especially if your ears are accustomed to softer sounds), it's more than just idiotic noise.
There are melodies, patterns, and complexities to be realized and appreciated if enough
time is spent soaking it all in.
Realise that playing and singing death metal isn't easy. While someone with a very
basic background in singing or a particular instrument can probably learn a pop or rock
song in a short period of time, that same person would take much longer to learn to
perform a death metal song; the time frame is likely more comparable to jazz or classical.
For fans of percussion, note that death metal drumming is extremely technical and precise.
It takes many years for these drummers to obtain the skills necessary to play these
complicated rhythm patterns at an often ridiculous speed. The majority of percussion in
popular music (with the exception of jazz) are very simple drum patterns, and often the
percussion is sampled without a real musician. This is what sells to the public. For those
more interested in talented musicians, both jazz and death metal offer excellent avenues to
enjoy guitar and drum talent.
Behemoth
Watch a live death metal performance. Observe how the group members manipulate the
instruments. It can be quite an experience especially since the shows are often small and
you can walk near or behind the stage to observe the musicians up close. If you've ever
tried to play those instruments yourself, you'll probably be amazed with how skillfully they
play. It takes practice and dedication, which challenges the stereotype of metal heads being
lazy and careless. You might also be surprised about how energetic some of the performers
are.
Remember that in death metal, unlike many other genres, each band almost
always writes their own music. That includes the riffs, drums, solos, and lyrics. Writing
your own music demonstrates another dimension of instrumental mastery and talent, as
well as making the music more personal and less manufactured.

17. Don't take the context and subject matter personally. Death metal lyrics and themes
aren't intended to be taken literally. They document the outer extremes of human
experience which other genres don't dare touch, such as the motivations of serial killers,
the activities of the walking dead, death itself, and isolation. Also, many bands will cover
other topics not usually associated with death, such as Norse mythology. Many bands
explore political and religious issues, and write about historical events.
o Keep in mind that some death metal lyrics, especially the gore and brutal varieties, often,
but not always, elaborate on the details of extreme acts, including mutilation, dissection,
rape and necrophilia. Use your best judgment, including independent online band and
album reviews, as well as skimming lyrical content before buying, if you are particularly
concerned about the issue.
o Be careful not to completely rule out a listening test based solely on lyrical content. Many
online music stores have thirty-second clips that can demonstrate the groove of a song, and
if the musical content sparks your interest, perhaps the lyrics can be taken more lightly.
o Look up the lyrics. A common misconception of heavy metal is that all heavy metal bands
lyrics are very vulgar, using a lot of bad language. You might be surprised by the complexity
and large vocabulary found in the lyrics in some death metal bands.
Learn about the sub-genres. Not all death metal is the same. The genre contains many
sub-genres that can frequently mix and intermingle with each other. As a result, it may be
difficult to ascribe a band under a single sub-genre. Here's a general guideline to get you
started:
o Blackened - adopts thematic and musical elements of black metal: Akercocke, Behemoth,
Belphegor, Dissection, God Dethroned, Firdous Angelcorpse, Sacramentum, Zyklon,
Crimson Thorn and many others
o Brutal: Aborted (earlier work), Cannibal Corpse, Cryptopsy, Blood Red Throne, Deeds of
Flesh, Degrade, Deranged, Disavowed, Disgorge, Guttural Secrete, Hate Eternal, Immolation,
Internal Suffering, Krisiun, Origin, Skinless, Spawn of Possession, Suffocation, The Genocide
Architect, Wormed and many others
o Death/Doom - slow tempos, melancholic atmosphere, deep growling vocals double-kick
drumming: Anathema (earlier works), Asphyx, Autopsy, Disembowelment, Swallow the
Sun and Winter.
o Goregrind/Deathgrind - intense, brief, rare guitar solos, more prominent shrieked vocals:
Carcass (earlier work), Terminally Your Aborted Ghost, Anal Bleeding, Guttural
Engorgement, XXX Maniak
o Melodic - Iron Maiden-esque guitar harmonies and melodies with typically higher-pitched
growls: Children Of Bodom (earlier work), Aborted (later work), Amon Amarth, Arch
Enemy, At Odds with God, At the Gates, Carcass (later work), Dark Tranquillity, Desultory,
Dethklok, Disarmonia Mundi, Hilastherion, Hypocrisy, Immortal Souls, Kalmah, Norther,
Souls, In Flames (earlier work), Sacrilege, Wintersun, Scar Symmetry, Insomnium,
Noumena, Rapture, and Daylight Dies.
o Symphonic - Eternal Tears of Sorrow, Nightfall and Septic Flesh

18. o Technical/Progressive - dynamic song structures, uncommon time signatures, atypical
rhythms and unusual harmonies and melodies: Amoral (earlier work), Beneath The
Massacre, Brain Drill, Cryptopsy, Cynic, Death, Decapitated, Gorguts, Immolation,
Necrophagist, Nile, Ominous, Origin, Pestilence, Psycroptic, Sleep terror, Spawn of
Possession, The Faceless, Visceral Bleeding, Veil Of Maya, Meshuggah, PsyOpus.
Respect the artists. The greatest death metal musicians almost can't make a living with
what they do, and yet the musicians in these bands continue on in spite of their obscurity.
Death metal is so non-mainstream that its musicians have to work incredibly hard for their
career sales to reach even a million copies (which very few death metal musicians have
actually done). Many death metal musicians are highly intelligent people with
comprehensive musical training.
Tips
 Keep in mind that all genres and sub-genres are under heated debate, so do not adhere to a
single definition too seriously.
 Many excellent death metal bands never had a big record company behind them to support
and promote their music. They are hidden treasures. Look around and discover what's
mostly ignored.
Warnings
 Do not take all things you hear in the lyrics of a death metal song seriously. This is
especially true with bands like Cannibal Corpse. Use discretion when listening to songs like
"Meat Hook Sodomy" and "Hammer Smashed Face" (both songs by Cannibal Corpse).
Cannibal Corpse, among other bands, have even said their lyrics are totally fictional and not
to be followed. These songs and all other extreme death metal songs are entirely works of
fiction and are not condoned by the authors or the band.
 On a practical note, death metal is not a good approach to understanding death.

26. Fun Videos
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http://www.youtube.com/watch?v=98ew0VtHmik